Whiteout, premiered at the new festival Dance International Glasgow, races along this very particular relationship road. Devised by Natasha Gilmore, director/choreographer of Glasgow-based Barrowland Ballet, it explores biracial relationships. Contrast, connection and, subtly, conflict, are described along the way.

The action begins with a droning blizzard of sound. A group of hooded figures, blasted by the storm, momentarily seem set to run with cliche, but stereotype plays little part in the unfolding scenarios. As spotlights work with the dark to create another layer of reversal, hoods are discarded and a sensitive study of engagement is developed by the ensemble, projected by a thrillingly muscular energy.

Sometimes, holding hands, it is a little sweet. Sometimes, when dance beats swell, it is infectious. What seeps through, as the six performers roll to the call of a new, pulsingly melodic composition by musician and novelist Luke Sutherland (of Long Fin Killie; occasional Mogwai member, brought up the only Scots-African on Orkney), is a sense of the dancers’ togetherness: the intimacy of company relationships is a striking element here; otherness and issue are both states to be explored in this context.

As confirmation, Gilmore places a film screening at the heart of the piece: along with her two young sons, both aged under six, the group are captured improvising for fun, again in black and white. A perfect harmony and equality across generation and origin surprises and delights us all. The tiny boys make a thrilling choreographic match for the bigger people. Oozing sentiment? Not at all, this is a take on life with genuine strength of conviction in a natural, vivid style. We’re entranced.